Diego Fasolis

Biography

Country: Switzerland  
Diego Fasolis is among the more important conductors associated with Baroque music and early music performance in general. He is primarily a choral conductor and is especially known for his interpretations of cantatas and other sacred works by J.S. Bach. His repertory also includes large chunks of the sacred outputs of Handel, Palestrina, Vivaldi, Buxtehude, and many other Baroque composers. But Fasolis has also led performances and recordings of Read more sacred music by Cherubini and Liszt and even the folk song arrangements of Beethoven. He is a multifaceted musician: as an organist he has been active and quite prolific in Europe in a range of repertory that includes the complete outputs of Buxtehude, J.S. Bach, Mozart, Mendelssohn, Liszt, and Franck. In addition, the busy Fasolis has also composed film scores and works for organ and for voices with orchestra. He has made over 50 recordings that have appeared on a variety of labels, including EMI, Naxos, Chandos, Claves, Arts Music, Amadeus, Divox, and several others.

Born in Switzerland, Fasolis studied music at the Zurich Conservatory and the Zurich Musikhochschule. His most important teachers at these schools included Jürg Vintschger (piano), Erich Vollenwyder (organ), Carol Smith (voice), and Klaus Knall (conducting). Fasolis later studied organ in Paris with Gaston Litaize and had further instruction in Cremona with Michael Radulescu, who schooled him in early music performance.

Fasolis' first important post came in 1986 when he began a long relationship with the Radiotelevisione Svizzera di Lingua Italiana (RTSI) as a musician and (part-time) conductor. In 1993 he was appointed permanent conductor there, a post that included oversight and conducting of several vocal and instrumental ensembles serving under the RTSI, among which was the Coro della Radio Svizzera.

In 1995 Fasolis founded Ensemble Vanitas in Lugano, a historic-instrument group largely devoted to Baroque repertory. He has remained the ensemble's principal conductor over the years. In 1998 Fasolis accepted the appointment of principal conductor of another historic-instrument ensemble committed to Baroque music, I Barocchisti.

In the new century Fasolis has remained active not only with I Barocchisti, but as a freelance conductor with several European ensembles, including the Orchestra and Chorus of La Scala, the Berlin RIAS-Chamber Choir, and other groups in Italy, Germany, and Switzerland. Among Fasolis' more recent recordings are a pair of 2007 releases on the Arts Music label containing the Bach Brandenburg Concertos and the Tripelkonzert, BWV 1044. Read less
Vivaldi: Recorder Concertos / Steger, Fasolis, I Barocchisti
Release Date: 10/14/2014   Label: Harmonia Mundi  
Catalog: 902190   Number of Discs: 1
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Biography

Country: Switzerland  
Diego Fasolis is among the more important conductors associated with Baroque music and early music performance in general. He is primarily a choral conductor and is especially known for his interpretations of cantatas and other sacred works by J.S. Bach. His repertory also includes large chunks of the sacred outputs of Handel, Palestrina, Vivaldi, Buxtehude, and many other Baroque composers. But Fasolis has also led performances and recordings of Read more
WORKS ALBUMS
TITLE/COMPOSER
LABEL
I. [Allegro]
II. (Largo)
III. Allegro molto
I. Largo
II. Fantasmi - Presto - Largo
III. Presto
IV. Il Sonno - Largo tutti gl'stromenti sordini
V. Allegro
I. Allegro
II. Largo
III. Allegro
I. Allegro assai
II. Largo
III. Allegro
I. Allegro non molto
II. Largo
III. Allegro
I. Allegro ma cantabile
II. Largo
III. Allegro non molto
I. Allegro
II. Largo
III. Allegro
Stabat Mater Dolorosa
Cuius animam gementem?. O quam tristis
Quis est homo qui non fleret?. Quis non posset
Pro peccatis suae gentis
Vidit suum dulcem Natum
Eja Mater, fons amoris? Fac, ut ardeat ? Sancta Mater? Tui nati vulnerati
Fac me vere tecum flere?. Juxta Crucem
Virgo virginum praeclara
Fac ut portem Christi mortem
Fac me plagis vulnerary
Inflammatus e accensus?. Fac me cruce custodiri
Quando corpus morietur? Fac ut animae donetur
Brahms: Liebeslieder-Walzer, Op.52 - Verses From "Polydora" - 1. Rede, Mädchen, allzu liebes
Brahms: Liebeslieder-Walzer, Op.52 - Verses From "Polydora" - 2. Am Gesteine rauscht die Flut
Brahms: Liebeslieder-Walzer, Op.52 - Verses From "Polydora" - 3. O die Frauen, o die Frauen
Brahms: Liebeslieder-Walzer, Op.52 - Verses From "Polydora" - 4. Wie des Abends schöne Röte
Brahms: Liebeslieder-Walzer, Op.52 - Verses From "Polydora" - 5. Die grüne Hopfenranke
Brahms: Liebeslieder-Walzer, Op.52 - Verses From "Polydora" - 6. Ein kleiner, hübscher Vogel nahm den Flug
Brahms: Liebeslieder-Walzer, Op.52 - Verses From "Polydora" - 7. Wohl schön bewandt war es vorehe
Brahms: Liebeslieder-Walzer, Op.52 - Verses from "Polydora" - 8. Wenn so lind dein Auge mir
Brahms: Liebeslieder-Walzer, Op.52 - Verses from "Polydora" - 9. Am Donaustrande, da steht ein Haus
Brahms: Liebeslieder-Walzer, Op.52 - Verses From "Polydora" - 10. O wie sanft die Quelle sich
Brahms: Liebeslieder-Walzer, Op.52 - Verses From "Polydora" - 11. Nein, es ist nicht auszukommen
Brahms: Liebeslieder-Walzer, Op.52 - Verses From "Polydora" - 12. Schlosser auf! und mache Schlösser
Brahms: Liebeslieder-Walzer, Op.52 - Verses From "Polydora" - 13. Vögelein durchrauscht die Luft
Brahms: Liebeslieder-Walzer, Op.52 - Verses From "Polydora" - 14. Sieh, wie ist die Welle klar
Brahms: Liebeslieder-Walzer, Op.52 - Verses From "Polydora" - 15. Nachtigall, sie singt so schön
Brahms: Liebeslieder-Walzer, Op.52 - Verses From "Polydora" - 16. Ein dunkler Schacht ist Liebe
Brahms: Liebeslieder-Walzer, Op.52 - Verses From "Polydora" - 17. Nicht wandle, mein Licht, dort aussen
Brahms: Liebeslieder-Walzer, Op.52 - Verses From "Polydora" - 18. Es bebet das Gesträuche
Stravinsky: Les Noces / Première Partie - Premier Tableau: "La Tresse"
Stravinsky: Les Noces / Première Partie - Deuxième Tableau: Chez le Marié
Stravinsky: Les Noces / Première Partie - Troisième Tableau: Le Départ de la Mariée
Stravinsky: Les Noces / Deuxième Partie - Quatrième Tableau: Le Repas de Noces
Faramondo, HMV 39, Act 1: Ouverture. Larghetto - Allegro - Andante e piano
Faramondo, HMV 39, Act 1: Scene I: Recit. Popolo, figlio (Gustavo, Adolfo)
Faramondo, HMV 39, Act 1: Scene I: Accompagnato. Ascolta dagli Elisi (Gustavo)
Faramondo, HMV 39, Act 1: Scene I: Coro. Pera, pera
Faramondo, HMV 39, Act 1: Scene II: Recit. Mio Rè, pronta qui (Teobaldo, Gustavo, Adolfo, Clotilde)
Faramondo, HMV 39, Act 1: Scene II: Aria: Viva sì, che nel mio seno (Gustavo)
Faramondo, HMV 39, Act 1: Scene III: Recit. Siam pur fuori (Adolfo, Clotilde)
Faramondo, HMV 39, Act 1: Scene III: Aria. Conoscerò, se brami (Clotilde)
Faramondo, HMV 39, Act 1: Scene IV: Recit. Perdoni all'amor mio (Adolfo)
Faramondo, HMV 39, Act 1: Scene IV: Aria. Chi ben ama (Adolfo)
Faramondo, HMV 39, Act 1: Scene V: Recit. Finchè avrò spirto (Faramondo, Rosimonda, Childerico)
Faramondo, HMV 39, Act 1: Scene V: Aria. Vanne, che più ti miro (Rosimonda)
Faramondo, HMV 39, Act 1: Scene VI: Recit. Faramondo infelice! (Faramondo, Gernando)
Faramondo, HMV 39, Act 1: Scene VI: Aria. Rival ti sono (Faramondo)
Faramondo, HMV 39, Act 1: Scene VII: Recit. Va pur; prevenirò (Gernando)
Faramondo, HMV 39, Act 1: Scene VII: Aria. Voglio che mora (Gernando)
Faramondo, HMV 39, Act 1: Scene VIII - Scene X
Faramondo, HMV 39, Act 1: Scene XI: Recit. Rosimonda, tu sei libera (Faramondo, Rosimonda) - Aria. Sì tornerò a morir (Faramondo)
Faramondo, HMV 39, Act 1: Scene XII: Recit. Qual nemico m'han dato (Rosimonda)
Faramondo, HMV 39, Act 1: Scene XII: Aria. Sento che un giusto (Rosimonda)
Faramondo, HMV 39, Act 1: Scene XIII - Scene XIV: Recit.
Faramondo, HMV 39, Act 1: Scene XIV: Aria. Vado a recar la morte (Teobaldo)
Faramondo, HMV 39, Act 1: Scene XV. Recit. Dalla cittade, e solo (Clotilde, Adolfo)
Faramondo, HMV 39, Act 1: Scene XV: Aria. Mi parto lieta (Clotilde)
Faramondo, HMV 39, Act 1: Scene XVI - Scene XVII: Recit.
Faramondo, HMV 39, Act 1: Scene XVII: Aria. Se ben mi lusinga (Faramondo)
I. Allegro molto
II. Largo
III. Allegro
I. Allegro molto
II. Adagio
III. Allegro
I. Allegro
II. Largo
III. Allegro
I. Allegro
II. Andante cantabile
III. Allegro
I. Allegro molto
II. Larghetto
III. Allegro
I. Allegro molto, molto
II. Largo
III. Allegro
Part I: Introduction: Recitative: Dove son? Dove Corro? (Pietro)
Part I: Aria: Giacche mi tremi in seno, esci dagli occhi, almeno (Pietro)
Part I: Quanto costa il tuo delitto, sconsigliata umanita! (Chorus)
Part I: Recitative: Ma qual dolente stuolo s'appressa a me? (Pietro)
Part I: Trio: All'idea di quelle pene, che il tuo Dio per te sostiene (Maddalena, Giovanni, Giuseppe)
Part I: Recitative: Maddalene, Giovanni, Giuseppe, amici: il mio Gesu respira? (Pietro)
Part I: Quanto costa il tuo delitto, sconsigliata umanita! (Chorus)
Part I: Aria: Vorrei dirti mio dolore, ma dal labbro i mesti accenti (Maddalena)
Part I: Recitative: Oh piu di no felice, Pietro, che non mirasti (Giovanni, Giuseppe)
Part I: Aria: Torbido mar che freme, alle querele, a voti (Giuseppe)
Part I: Recitative: Oh barbari! Oh crudeli! (Pietro, Maddalena, Giovanni)
Part I: Aria: Come, a vista di pene si fiere (Giovanni)
Part I: Recitative: E la Madre frattanto, in mezzo all'empie squadre, Giovann, che facae? (Pietro, Giovanni, Maddalena)
Part I: Aria: Potea quel pianto, dovea quel sangue nel cor piu barbaro (Maddalena)
Part I: Recitative: Come invetor potea pena maggior la crudeltade ebrea? (Pietro, Giuseppe, Giovanni)
Part I: Aria: Tu nel duol felice sei (Pietro)
Part I: Recitative: Dopo un pegno si grande d'amore e di pieta, pensa qual fosse (Giovanni)
Part I: Duet: Vi sento, oh Dio, vi sento, rimproveri penosi (Pietro, Maddalena)
Part I: Di qual sangue, o mortale, oggi fa d'uopo (Chorus)
Kyrie
Dies irae
Rex tremendae
Oro supplex
Hostias
Sanctus
Benedictus
Agnus dei
Part I: Sinfonia
Part I: Scene 1: Questi fiori, onor d'Aprile (These flowers, the glory of April) (Lindora, Aurelia)
Part I: Scene 1: Perche, invece de' lauri (Why, instead of laurel leaves) (Lindora, Aurelia)
Part I: Scene 1: Un guerriero giovinetto (There was once a young warrior) (Aurelia)
Part I: Scene 2: Oh, quest'e bella assai! (Oh, that really is too much!) (Lindora, Aurelia)
Part I: Scene 3: Sono bello, io gia lo so (I'm handsome, how well I know it) (Count Bellezza)
Part I: Scene 3: Amabile Lindora (Lovely Lindora) (Count Bellezza, Lindora, Aurelia)
Part I: Scene 3: Quel dar tanto in tanto (That heaving every now and then) (Count Bellezza, Aurelia, Lindora)
Part I: Scene 4: Io vi dico che le spese (I'm telling you that the sums spent on goods) (Ferramonte)
Part I: Scene 4: Adesso, in questo punto (Now, this very moment) (Ferramonte, Aurelia, Lindora)
Part I: Scene 5: Ero ancora di tenera eta (When I was still a little lad) (Ferramonte)
Part I: Scene 6: Queste bravure sue (I fear that all his bragging) (Lindora, Count Bellezza)
Part I: Scene 6: Le povere donne (Ladies, poor souls) (Lindora)
Part I: Scene 7: Questa cosa va mal, va male assai (Things are not going well, not well at all) (Count Bellezza)
Part I: Scene 7: Diro che son le donne (I shall say that all ladies are) (Count Bellezza)
Part I: Scene 8: Spada, spada fatale (Sword, death-dealing sword) (Ferramonte, Count Bellezza)
Part I: Scene 9: Le sono obbligatissima (I'm extremely obliged to you) (Lindora, Aurelia, Count Bellezza, Ferramonte)
Ergasto appassionato
Preparamento pastorale
Gara amorasa di pastori
Danza di ninfe e pastori
Licenza: L'humore spensierato
Act I: Sinfonia
Act I Scene 1: Presto, presto, alla catena (Quickly, quickly, back to your chains) (Chorus)
Act I Scene 1: Recitative: Ite all'opre servili (Haste to your humble tasks) (Tulia)
Act I Scene 1: Presto, presto, alla catena (Quickly, quickly, back to your chains) (Chorus)
Act I Scene 2: Recitative: Poiche del viril sesso (Now that we have subdued) (Tulia)
Act I Scene 3: Recitative: Aurora, ah non vorrei (Aurora, I would not like) (Tulia)
Act I Scene 3: Aria: Fiero leon, che audace (A fierce lion that once boldly) (Tulia)
Act I Scene 4: Recitative: Che piacer, che dilerro (What pleasure, what delight) (Aurora)
Act I Scene 4: Aria: Quegl'occhietti si furbetti (Those little eyes, so mischievous) (Aurora)
Act I Scene 5: Recitative: Oh che gusto, oh che gusto! (Oh joy, oh joy!) (Graziosino)
Act I Scene 5: Aria: Quando gli augelli cantano (When the birds are singing) (Graziosino)
Act I Scene 6: Arietta: Madre Natura (Mother Nature) (Giacinto)
Act I Scene 6: Recitative: Questa parucca, in vero (This wig, in very truth) (Giacinto)
Act I Scene 6: Aria: In quel volto siede un nume (In that face resides a spirit) (Giacinto)
Act I Scene 7: Recitative: Oh, quanto mi fan ridere (Oh, how they make me laugh) (Cintia)
Act I Scene 7: Aria: Se gli uomini sospirano (If the men are miserable) (Cintia)
Act I Scene 8: Recitative: Ma io, per dir li vero (But, to tell the truth) (Tulia)
Act I Scene 8: Aria: Cari lacci, amate pene (Dear bonds, beloved travail) (Tulia)
Act I Scene 9: Recitative: Dov'e, dov'e chi dice (Where, where is he who says) (Rinaldino)
Act I Scene 9: Aria: Gioje care, un cor dubioso (Dear joys, come flood) (Rinaldino)
Act I Scene 10: Recitative: O Diana mia gentile! (O my amiable Diana!) (Giacinto)
Act I Scene 10: Recitative: Con Aurora Giacinto? (Giacinto with Aurora?) (Cintia)
Act I Scene 10: Finale I: Venite, o ch'io vi faccio (Come along, or you shall have) (Cintia)
Act III Scene 2: Aria: Fino ch'io vivo adorero (As long as I live I shall adore you) (Tulia)
Act III Scene 3: Recitative: Io rido come un pazzo (It makes me laugh like mad) (Ferramonte)
Act III Scene 3: Aria: Le donne col cervello (Women use their wits) (Ferramonte)
Act III Scene 5: Recitative: Non ne vuo piu sapere (I want no more to do with you) (Graziosino)
Act III Scene 5: Aria: Che bel regnar contenta (How sweet to rule contented) (Aurora)
Act III Scene 6: Recitative: Colui di Ferramonte (That chap Ferramonte) (Graziosino)
Act III Scene 6: Aria: Giuro ... Signora si (I swear ... Indeed, madam) (Graziosino)
Act III Scene 7: Recitative: Ah, ch'e un piacere soave (Ah, it is a delicious feeling) (Cintia)
Act III Scene 7: Duet: Eccomi al vostro piede (Behold me kneeling at your feet) (Cintia)
Act III Scene 8: Finale III: Pieta, pieta di noi (Mercy, have mercy upon us!) (Chorus of Women)
Act III: Epilogue
Introitus et Kyrie: Requiem aeternam
Graduale: Requiem aeternam
Dies irae
Offertorium: Domine Jesu Christe
Sanctus
Pie Jesu
Agnus Dei
Overture
Overture: Beginn des Jahres 1904 ...
I. Wie die Krahe
I. Mit Kummer sieht die Mutter ihren Sohn ...
II. Das Lied von der Suppe
II. Im April 1905 hort Pelagea Wlassowa ...
III. Der zerrissene Rock
III. Als es infolge des Streiks zu Verhaftungen kam ...
IV. Bericht vom 1. Mai 1905: Gedanken uber die rote Fahne
IV. Pawel Wlassow ist wegen der Vorgange ...
V. Lob des Kommunismus
V. Bei dem Lehrer Nikolai ...
VI. Lob des Lernens
VI. Pelagea Wlassowa ist im grossr Sorge ...
VII. Lob eines Revolutionars
VII. Pelagea Wlassowa besucht ihren Sohn ...
VIII. Im Gefangnis zu singen
VIII. Den Anleitungen entsprechend ...
IX. Lob der Wlassowas
IX. Pelagea Wlassowa sieht ihren Sohn wieder ...
X. Lob der dritten Sache
X. 1910: Pawel Wlassow ist beim Versuch ...
XI. Grabrede
XI. Der Ausbruch ds Weltkrieges ...
XII. Steh auf! (Die Partei ist in Gefahr)
XII. Pelagea Wlassowa erlebt noch die Oktoberrevolution ...
XIII. Lob der Dialektik
I. Introduzione
Atto I: II. Prologo: l'Humor spensierato
Atto I: III. Intermedio di felici pastori, a due cori
Atto I: IV. Progne e Filomena
Atto I: V. Danza di pastorelle, in aria del spagnoletto, con le riprese nella cornamusa
Atto I: VI. Madrigale: Soavissimo ardore
Atto II: VII. Intermedio di pignattari
Atto II: VIII. Un pastorello con un augellino uccisogli da un gatto
Atto II: IX. Tirsi a Clori
Atto II: X. Dialogo: Aminta, Dafne e giudizio d'Amore
Atto II: XI. Gioco della passerina
Atto II: XII. Madrigale: Baci, sospir e voci
Atto III: XIII. Ergasto appasionato
Atto III: XIV. Preparamento pastorale
Atto III: XV. Gara amorosa di pastori
Atto III: XVI. Danza di ninfe e pastori
Atto III: XVII. Licenza: l'Humore spensierato
Vexilla regis prodeunt
Station I: Jesus wird zum Tode verdammt
Station II: Jesus tragt sein Kreuz
Station III: Jesus fallt zum ersten Mal
Station IV: Jesus begegnet seiner heiligen Mutter
Station V: Simon von Kyrene hilft Jesus das Kreuz tragen
Station VI: Sancta Veronica
Station VII: Jesus fallt zum zweiten Mal
Station VIII: Die Frauen von Jerusalem
Station IX: Jesus fallt zum dritten Mal
Station X: Jesus wird entkleidet
Station XI: Jesus wird ans Kreuz geschlagen
Station XII: Jesus stirbt am Kreuze
Station XIII: Jesus wird vom Kreuz genommen
Station XIV: Jesus wird ins Grab gelegt


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